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As big a fan as I am of Herrmann, I would say that even if the complete original recording survived in great sound, it would be easy to argue that the Tribute recording is a superior performance. This is my #1 favorite Herrmann score. I grew up loving the film and had seen it many times, knowing the score inside and out. I am also usually a stickler for original tracks, finding that rerecordings (even many conducted by Bill Stromberg) often lack the energy of the originals. If anybody would be picky about a rerecording of Mysterious Island it would be me...but the TFC Mysterious Island is quite simply the greatest film music rerecording of all time. No question in my mind. It's flawless. Also all TFC liner notes set the standard for the biz.
The only criticism I have of the album is that all of those bitty tracks were totally unnecessary especially since so many flow together. I combined tracks that did so when I imported to iTunes though so it really wasn't much of a problem, and later Tribute releases stopped doing this which made me happy.
Yavar
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Posted: |
Oct 30, 2014 - 1:18 PM
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By: |
John Morgan
(Member)
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MMM, PFK:
Your check's are in the mail.
I've heard that song before ....... 
But you have never heard that song so beautifully reconstructed, orchestrated, performed and recorded before.
Hi John, and you are correct Sir!
Are you now, as we speak, reconstructing, orchestrating, performing and recording Abbott & Costello meet Frankenstein?
...... Peter
At the moment, I am recovering from a bout of debauchery that has left me incapable of even thinking about music. Gosh, we at Tribute would like to continue recording classic film music. There is so much still to do, but I am afraid our family of classic score lovers is fast disappearing...meaning that it is not economical in the market of today. It was a much healthier time when we started with Marco Polo back in the early 90s. We had more than a few albums selling more than 10,000 copies and KING KONG must be near 20,000. Costs of recording, orchestra, mastering, etc. has risen quite a bit. We started in Moscow with the two Skinner/Salter/Dessau/Previn albums, and at that time I think the actual costs with Moscow was less than $20,000. Our last two albums there, with Tribute, was something like $150,000 and that didn’t include travel, mastering, booklets, etc. Now A&C doesn’t need a huge orchestra like Herrmann, Steiner, Korngold, etc., and would be more in line with the earlier Universal scores we recorded, but even today, that probably would cost over $70,000 just for the orchestra and recording.
But things can happen. If it wasn’t for Craig and William at SAE, our last two would never have happened. Yes, Bill, Anna and I would love to do ...MEET FRANKENSTEIN. We also would love to do music from NIGHT OF THE HUNTER, FLESH AND FANTASY, a big Suite from SINBAD THE SAILOR and THE SPRIAL STAIRCASE (haven’t forgot, Yavar), HORN BLOWS AT MIDNIGHT, SGT. YORK, and personally, I would love Bill to conduct a rerecording of THE GHOST AND MRS. MUIR.
More than anything, however, I wish I was a wealthy man. That would do the trick for so many things. that has left me
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Posted: |
Oct 30, 2014 - 1:19 PM
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By: |
John Morgan
(Member)
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MMM, PFK:
Your check's are in the mail.
I've heard that song before .......
But you have never heard that song so beautifully reconstructed, orchestrated, performed and recorded before.
Hi John, and you are correct Sir!
Are you now, as we speak, reconstructing, orchestrating, performing and recording Abbott & Costello meet Frankenstein?
...... Peter
At the moment, I am recovering from a bout of debauchery that has left me incapable of even thinking about music. Gosh, we at Tribute would like to continue recording classic film music. There is so much still to do, but I am afraid our family of classic score lovers is fast disappearing...meaning that it is not economical in the market of today. It was a much healthier time when we started with Marco Polo back in the early 90s. We had more than a few albums selling more than 10,000 copies and KING KONG must be near 20,000. Costs of recording, orchestra, mastering, etc. has risen quite a bit. We started in Moscow with the two Skinner/Salter/Dessau/Previn albums, and at that time I think the actual costs with Moscow was less than $20,000. Our last two albums there, with Tribute, was something like $150,000 and that didn’t include travel, mastering, booklets, etc. Now A&C doesn’t need a huge orchestra like Herrmann, Steiner, Korngold, etc., and would be more in line with the earlier Universal scores we recorded, but even today, that probably would cost over $70,000 just for the orchestra and recording.
But things can happen. If it wasn’t for Craig and William at SAE, our last two would never have happened. Yes, Bill, Anna and I would love to do ...MEET FRANKENSTEIN. We also would love to do music from NIGHT OF THE HUNTER, FLESH AND FANTASY, a big Suite from SINBAD THE SAILOR and THE SPRIAL STAIRCASE (haven’t forgot, Yavar), HORN BLOWS AT MIDNIGHT, SGT. YORK, and personally, I would love Bill to conduct a rerecording of THE GHOST AND MRS. MUIR.
More than anything, however, I wish I was a wealthy man. That would do the trick for so many things.
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At the moment, I am recovering from a bout of debauchery that has left me incapable of even thinking about music.
Boy, when you have a birthday party John, you must really party!
But things can happen. If it wasn’t for Craig and William at SAE, our last two would never have happened. Yes, Bill, Anna and I would love to do ...MEET FRANKENSTEIN. We also would love to do music from NIGHT OF THE HUNTER, FLESH AND FANTASY, a big Suite from SINBAD THE SAILOR and THE SPRIAL STAIRCASE (haven’t forgot, Yavar),
Bless you, John! Especially for making it a BIG suite!
What's Flesh and Fantasy?
Yavar
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I really like the Tansman concert hall works I've heard so you've got me really interested in that now!
Yavar
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Posted: |
Oct 30, 2014 - 8:57 PM
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By: |
PFK
(Member)
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MMM, PFK:
Your check's are in the mail.
I've heard that song before .......
But you have never heard that song so beautifully reconstructed, orchestrated, performed and recorded before.
Hi John, and you are correct Sir!
Are you now, as we speak, reconstructing, orchestrating, performing and recording Abbott & Costello meet Frankenstein?
...... Peter
At the moment, I am recovering from a bout of debauchery that has left me incapable of even thinking about music. Gosh, we at Tribute would like to continue recording classic film music. There is so much still to do, but I am afraid our family of classic score lovers is fast disappearing...meaning that it is not economical in the market of today. It was a much healthier time when we started with Marco Polo back in the early 90s. We had more than a few albums selling more than 10,000 copies and KING KONG must be near 20,000. Costs of recording, orchestra, mastering, etc. has risen quite a bit. We started in Moscow with the two Skinner/Salter/Dessau/Previn albums, and at that time I think the actual costs with Moscow was less than $20,000. Our last two albums there, with Tribute, was something like $150,000 and that didn’t include travel, mastering, booklets, etc. Now A&C doesn’t need a huge orchestra like Herrmann, Steiner, Korngold, etc., and would be more in line with the earlier Universal scores we recorded, but even today, that probably would cost over $70,000 just for the orchestra and recording.
But things can happen. If it wasn’t for Craig and William at SAE, our last two would never have happened. Yes, Bill, Anna and I would love to do ...MEET FRANKENSTEIN. We also would love to do music from NIGHT OF THE HUNTER, FLESH AND FANTASY, a big Suite from SINBAD THE SAILOR and THE SPRIAL STAIRCASE (haven’t forgot, Yavar), HORN BLOWS AT MIDNIGHT, SGT. YORK, and personally, I would love Bill to conduct a rerecording of THE GHOST AND MRS. MUIR.
More than anything, however, I wish I was a wealthy man. That would do the trick for so many things.
Thanks for the reply John. You know I'm kidding about A & C Meet Frank. Just dreaming I guess. You have mentioned before how golden age fans are shrinking while costs keep going up. Interesting figures you gave etc. Still, I often find myself playing your Marco Polo, Naxos and Tribute CDs. Thanks for those!
Might a large record label be interested in continuing the series?
I feel like Tevye in Fiddler on the Roof: " If I were a rich man ..... "
Time is marching on. Remember John, you are only two months younger than I !
....... Peter
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I realize I never replied to this topic. I went with the re-recording.
Good Call, it's complete and sounds awesome.
Ford A. Thaxton
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